Repose
LIONEL LINDSAY
Australian, (1874-1961)
Wood engraving, 1937-38, edition 200. 8 7/8 x 5 7/8 in. Signed in the block, lower right. Signed and numbered in pencil. This is a fine, rich impression printed on a thin white wove paper. The margins are full. The condition is fine other than for soft rippling in the margins most likely from the printing process. This lovely print was published by the Woodcut Society of Kansas City in 1938. Along with the print, we have the original presentation folder with an essay by the artist. Lindsay states that the peacocks were drawn at the gardens of the Villa Wurtz in Rome, Italy.
SOLD

Night and the Salute, Venice
SIDNEY M. LITTEN
British, (1887-1934)
Etching and drypoint, 1928, edition perhaps 80. 10 1/4 x 16 3/4 in. Signed in pencil. This is a superb, luminous impression printed on a greenish-blue paper. The margins are full and the condition is excellent. Litten studied with Frank Short at the Royal College of Art. He exhibited at the Walker Galleries and the Royal Academy. This is a large and exceptional example of his work.
SOLD

Venetian Steps
SIDNEY M. LITTEN
British, (1887-1934)
Etching and drypoint, 1928, edition 80. 10 3/4 x 15 in. Signed and numbered "xxviii" in pencil. Here we have a fine, luminous impression with full margins. The condition is excellent. Impressions of this print are located at the Detroit Institute of Arts and the Princeton University Art Museum.
SOLD

La Rue Réaumur
MAXIMILIEN LUCE
French, (1858-1941)
Lithograph printed in colors, circa 1894, edition about 60. 12 3/8 x 16 in. Signed in blue pencil in the lower right. Just below the image at right is remarque of a portrait of the man. This is a superb, luminous impression with full margins. The condition is excellent. The print is numbered, initialed and stamped in the lower right corner by the publisher Gustave Pellet. (Lugt 1194 and 1190). Ex-collection: H.M. Petiet (Lugt 5031).
SOLD

Les Rochers Rouges, or, La Mer à Camaret
MAXIMILIEN LUCE
French, (1858-1941)
Lithograph printed in colors, 1895, I.F.F 16, edition about 60. 12 1/4 x 17 3/8 in. Signed in blue pencil in the lower right. This is a superb impression printed on chine applique. The margins are full. The condition is fine. This colorful, engaging print was published by Gustave Pellet and bears his ink stamp in the lower right. (See Lugt 1190). The print also bears his initials (See Lugt 1194) and he numbered the print as well. Luce was friendly with Pissarro and Signac.
$2,800

Départ pour la Chasse à Courre (Leaving for the Hunt)
ALEXANDRE LUNOIS
French, (1863-1916)
Lithograph printed in colors, 1893, Not listed in I.F.F., Johnson 73, edition 100. 10 1/2 x 17 in. Signed and numbered in pencil. This is a fine, fresh impression printed on thin white wove paper. The margins are full. The condition is fine other than for a tiny speck (ink?) in the lower left below the image. From the collection of Henri M. Petiet (Lugt 5031). (Note: We are offering with the above an impression of the unfinished print done in black and white only and a color proof with variant inking, both with slight condition issues.) This print was published by Vollard for l'Album d'Estampes Originales de la Galerie Vollard.
$1,800

Tennis Players (Joueuses de Tennis)
ALEXANDRE LUNOIS
French, (1863-1916)
Lithograph printed in colors, circa 1895-1900, edition probably 100. 15 x 19 7/8 in. Signed in pencil, lower right. This is a fine impression with fresh, vibrant colors. The paper is a thin Japanese and the margins are full. The condition is fine. Lunois excelled in the medium of color lithography and he produced some of the best work in France during the fin de siècle era.
SOLD

The Wave (La Vague)
ARISTIDE MAILLOL
French, (1861-1944)
Woodcut, 1895-98, Guérin 8 (ii/II), edition 60. 6 3/4 x 7 5/8 in. Initialed in the block. Signed and numbered in pencil. This is a superb impression printed on Japon; rich in contrasts. The condition is excellent and the margins are full. From the collection of Henri M. Petiet (not in Lugt). This print was published by Petiet and bears his embossed stamp in the lower margin. This stellar Nabis image is inspired by Gauguin's bathers. A painting exists of a similar subject.
SOLD

Woman Crouching from the Back (Femme Accroupie de Dos)
ARISTIDE MAILLOL
French, (1861-1944)
Lithograph, 1925, Guérin 283, edition 100. 9 1/4 x 5 1/2 in. Signed in pencil with the artist's initial "M." Here we have a fine impression printed on smooth wove paper. The margins are full. The condition is very good apart from faint toning in the extreme edges of the sheet and a slightly toned area on the verso. This exemplary figurative work was published by Albert Morancé, Paris.
SOLD

Lola de Valence
EDOUARD MANET
French, (1832-1883)
Etching and aquatint, 1863, Harris 33 (vi/VIII), Guérin 23, Fisher 25; edition unknown. 10 1/4 x 7 1/16 in. Signed in the plate, lower left and also with the printed signature below. This is a fine impression printed on cream laid paper with no apparent watermark. The sheet has apparently the full margins and the condition is fine other than for two subtle hinges on the left edge verso, not showing on the front. According to Harris (revised edition, 1990), there were two different 1863 printings of this plate, this one for the Société des Aquafortistes, the first published printing (1863). "Imp. Delâtre, rue Saint-Jacques, 363, Paris," appears to the left of the printed verse, "Paris, Publié par A CADART & LUQUET, Editeurs, 79 Rue Richelieu" appears in the lower right, just below the image. The Cadart & Luquet blindstamp is also present in the lower margin, center. Number "67" appears in the upper right which refers to this as Plate 67 of Eaux-fortes modernes, 2nd year, 2nd issue. (The second printing lacks the the words"Ed.Manet sculpt.") The subject of this lovely print is Lola Melea who was a principal dancer with the Royal Ballet of Madrid. The Ballet appeared in Paris in 1862 at the Hippodrome theatre and Manet asked the dance troupe to pose for him. He also executed an oil painting of the same subject as well as a lithographic sheet music cover. The painting is now in the Musée d'Orsay in Paris.
$2,800

Exotic Flower (Woman in a Mantilla) Fleur Exotic (La Femme a la Mantille)
EDOUARD MANET
French, (1832-1883)
Etching and aquatint, 1868, Harris 57 (iii/III), edition of 350 on laid paper plus 36 extra proofs. 6 7/8 x 4 5/8 in. Signed in the plate, lower left. This is a very fine impression with full margins. The condition is also fine. This charming print was published by Lemerre in 1869. Philippe Burty asked Manet to provide this etching for his Sonnets et Eaux-fortes. There was only one published edition of this print and they are all lifetime impressions. It was exhibited at the Salon of 1869.
$2,200

Palazzo Dario, Venice
JOHN MARIN
American, (1872-1953)
Etching, 1907, Zigrosser 67, edition about 25. 7 3/4 x 5 3/8 in. Signed, dated and titled in the plate. Signed in pencil. This is a fine, delicate impression printed on a smooth wove paper. The margins are diagonally trimmed at the upper left corner and more so in lower left corner. The condition is otherwise fine. Marin etched several plates of Venice in 1907 reflecting the influence of Whistler and his very popular Venice sets.
SOLD

Improvisation
ANDRé MASSON
French, (1896-1987)
Etching, engraving and aquatint, 1945, Saphire 94, edition 30. 7 3/4 x 5 7/8 in. Signed and numbered in pencil. The print is signed and titled on the verso in pencil. This is a fine, rich impression of this early work. The margins are full and the condition is generally fine. There's a bit of light toning within an earlier mat opening. This work was published by the Buchholz Gallery, New York and was printed by Atelier 17 in New York.
$2,000

Nude in a Rocking Chair (Nu au Rocking Chair)
HENRI MATISSE
French, (1869-1954)
Lithograph , 1913, Duthuit-Garnaud 410, Fribourg 368; edition 50. 19 1/2 x 11 1/2 in. Initialed on the stone, lower right. Signed and numbered in ink, lower right. This is a superb impression printed ona subtle, off-white simili-Japan paper. The sheet is full and untrimmed. The condition is very good. This exemplary, early work is from the celebrated collection of Henri M. Petiet and bears his stamp (H.M.P.) on the verso.
SOLD

Dancer Lying Down, her Head Resting on her Folded Left Arm
HENRI MATISSE
French, (1869-1954)
Lithograph, 1925-26, Duthuit-Garnaud 486, edition 130. 17 x 6 1/2 in. Signed and numbered in pencil. This is a fine, fresh impression printed on ARCHES watermarked paper. The margins are full and the condition is fine. This exceptional print is from the celebrated series of Ten Dancers (Dix Danseuses) published by Editions de la Galerie d'Art Contemporain in 1927. The printer was Atelier Duchâtel, Paris.
SOLD

The Orchestra
CHARLES MAURIN
French, (1856-1914)
Etching and aquatint printed in colors, 1893, Gounot 59, edition 100. 5 3/8 x 8 5/8 in. Signed in the plate, lower left. Signed and numbered in blue pencil. This is a fine, rich impression with wide margins. The condition is very good apart from a suggestion of damp staining in the upper right margin. Impressions of this lovely print are in the Clark Art Museum and the Ackland Art Museum.
SOLD

La Coiffure
CHARLES MAURIN
French, (1856-1914)
Soft-ground etching with aquatint printed in colors, circa 1900-1910, edition 50. 12 3/4 x 7 3/4 in. Signed and numbered in pencil. This is a fine impression with the colors fresh. The margins are full and the condition is excellent. Maurin's superb and experimental color printmaking is illustrated and discussed in From Pissarro to Picasso, Color Etching in France (1992) by Cate and Grivel. He worked closely with Eugène Delâtre and the publishers Sagot and Vollard.
$1,200

The Cowgate, Edinburgh
JAMES MCBEY
Scottish, (1883-1959)
Etching, 1904-05, Hardie/Carter 33, edition 26. 8 x 5 in. Signed and dated in the plate, upper left. Signed and numbered "XIX" in ink. This is a fine, dark impression of this rare early work. The paper is a fine antique laid and the margins are full. Fine condition apart from an extremely faint suggestion of an old adhesive on the verso. The Cowgate is a very old street dating from the 15th century, not far from Edinburgh Castle.
SOLD

Omval
JAMES MCBEY
Scottish, (1883-1959)
Etching, 1910, Hardie/Carter 78, edition 78. 4 3/4 x 6 1/2 in. Signed, titled and dated in the plate, lower right. Signed and numbered in ink. This is a stunning, beautifully inked impression of this uncommon print. The margins are full and there's an illegible watermark running vertically along the left side. The condition is fine. This early work relates closely to Rembrandt's 1645 etching by the same title. In Rembrandt's version, the tree is on the other side of the composition and there's a standing figure.
SOLD

Venetian Night
JAMES MCBEY
Scottish, (1883-1959)
Etching, 1925, Hardie/Carter 254; edition 81 plus 18 trial proofs. 10 7/8 x 16 5/8 in. Signed and dated in the plate. Signed and numbered in ink. This is a fine, luminous impression printed on a greenish blue paper with the top edge irregular. The sheet was originally bound into a book or volume of some kind. The margins are modest but this appears to be the full sheet as printed. The condition is fine apart from a slight mat line from an early mat opening. This memorable work is one of McBey's very best prints and it's a landmark image for early 20th century British printmaking. Venetian Night is illustrated on page 65 of Great Images of British Printmaking by Raymond Lister (1978).
SOLD